Camera Duel
Lens comparator

Lens comparison

Pick up to 4 lenses and put them on the same grid: optics, aperture, weight, price, use-case scores. No marketing fluff.

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Top-scoring picks

sorted by optical score

All models

659 lenses

635 more lenses available. Refine via search, mount or kind.

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Method

How our lens comparator works

The comparator is based on three independent scores, aggregated into an overall score. Each score is calculated from public sources and instrumental measurements. Here is the logic behind each dimension.

Optical, value and build scoring

The optical score (0-100) aggregates measured sharpness in DXOMark P-Mpix, real light transmission (T-stop vs declared f-stop), vignetting control, distortion and chromatic aberrations. A lens reaching 9.7/10 such as the Sigma 105mm f/2.8 DG DN Macro Art or the Nikon Z 600mm f/4 TC VR S represents the top of the current catalogue.

  • The value score relates the optical score to the observed public price: a lens at 999 € with an optical score of 9.3 such as the Fujifilm XF 18mm f/1.4 R LM WR often exceeds references at 3 000 € in value.
  • The build score rates weather sealing (gaskets, number of sealing points), AF motor quality (linear, STM, HSMC, piezoelectric) and weight relative to full-frame equivalent focal length.

11 scored use cases

Each lens is evaluated on 11 use cases: portrait, landscape, sport, wildlife, travel, macro, video, architecture, astro, street and reportage. For each use case, a subset of criteria is weighted differently.

  • In portrait, maximum aperture and bokeh rendering (calculated via the circle of confusion diameter at full aperture) account for 40 % of the use-case score.
  • In sport, AF acquisition speed and OIS stabilisation account for 50 %.
  • In video, measured focus breathing in degrees of angular variation between focus at 0.3 m and infinity becomes a deal-breaker: any lens exceeding 2° of variation is penalised.

In macro, the actual reproduction ratio (1:1, 1:2, 1:4) and minimum working distance are the determining variables. This granularity avoids generic rankings that place an 85mm f/1.2 at the top for all uses.

Sources: DXOMark, Lensfun, manufacturer datasheets

  • Sharpness measurements come from DXOMark (P-Mpix base on reference sensor).
  • Distortion and vignetting profiles are cross-referenced with Lensfun, the open-source database used by Darktable and RawTherapee.
  • Weight, dimensions, number of diaphragm blades and AF motorisation data are extracted from the official datasheets of Canon, Nikon, Sony, Fujifilm, OM System, Panasonic, Sigma, Tamron and Voigtländer.
  • Field tests published by OpticalLimits serve as qualitative control on aberrations at the edge of the frame.

The database is updated with each new reference available in DXOMark testing. Prices are checked monthly on major European retailers and reflect the observed public price, excluding promotions.

Families

The 5 major lens families

Before comparing references, you must identify the lens family that matches your practice. Each family responds to different optical constraints. The choice of family precedes the choice of brand or budget. Here are the five categories covered by our database.

Prime lenses

A prime lens has only one focal length. This mechanical constraint simplifies the optical formula: fewer elements, fewer compromises. The result is measurable. A 50mm f/1.2 prime such as the Nikon Nikkor Z 50mm f/1.2 S reaches 9.2/10 in optical score with 2599 € at public price.

A zoom covering the same focal length at f/2.8 will be mechanically less bright and often less sharp at the edge of the frame. Prime lenses are particularly suited to portrait (85mm, 105mm), street (35mm, 50mm) and astro (24mm, 35mm f/1.2 or f/1.4). Their main drawback is the lack of flexibility: you frame with your feet.

On travel or reportage, this requires carrying several lenses or accepting a single angle of view. Unit weight is generally lower than an equivalent zoom, which partially compensates.

Standard and pro zooms

A standard zoom typically covers 24-70mm or 24-105mm. It is the versatile lens par excellence. Constant-aperture f/2.8 versions (pro zooms) maintain the same aperture throughout the focal range. This is a concrete advantage: exposure does not change when zooming.

  • The Nikon NIKKOR Z 24-70mm f/2.8 S II reaches 9.0/10 for 2699 €.
  • Variable-aperture zooms (f/3.5-5.6 or f/4-5.6) are cheaper but introduce an exposure variation that the camera compensates automatically, which can disrupt a sequence in manual mode. Deal-breaker to check: variable aperture is often listed as f/3.5 at the wide end but drops to f/5.6 at 105mm, i.e. 2.3 stops difference.

In low light, the impact is direct on shutter speed and digital noise.

Telephoto and super-telephoto lenses

Telephoto lenses cover focal lengths from 200mm to 600mm and beyond. They are indispensable for sport, wildlife and fauna.

Their main parameter is the focal length/aperture combination: a 400mm f/2.8 such as the Nikon NIKKOR Z 400mm f/2.8 TC VR S (13999 €, score 9.4/10) offers twice the shutter speed of a 400mm f/4 at the same ISO. Weight is the deal-breaker of this category.

  • The Nikon Z 600mm f/4 TC VR S weighs 3090 g for 17499 €.
  • Moderate-aperture super-telephotos such as the Sigma 500mm f/5.6 DG DN OS Sports (3499 €, 9.2/10) or the Fujifilm GF 500mm f/5.6 R LM OIS WR (3999 €, 9.5/10) offer a more accessible weight/reach compromise.

Integrated OIS stabilisation is almost systematic beyond 300mm and becomes a safety criterion, not only comfort.

Macro lenses

A macro lens in the strict sense displays a reproduction ratio of 1:1 (life-size on sensor). Minimum working distance is the second criterion: a 90mm macro works at approximately 28 cm from the subject, a 105mm at 31 cm, an 180mm at 47 cm.

The longer the working distance, the more you avoid shading the subject or frightening an insect.

  • The Tamron SP AF 90mm f/2.8 Di Macro 1:1 (9.4/10) remains an accessible reference.
  • The Sony FE 90mm f/2.8 Macro G OSS (9.0/10) adds OIS stabilisation useful for handheld shooting.
  • The Canon RF 100mm f/2.8L Macro IS USM (8.3/10) offers a 1.4:1 ratio, i.e. reproduction greater than the standard 1:1.

Note: some zooms such as the Panasonic Lumix S 14-28mm f/4-5.6 Macro (9.2/10, 999 €) offer a macro function at short distance, but the actual reproduction ratio remains below 1:1.

Specialised (UWA, fisheye, tilt-shift)

Ultra-wide-angle (UWA) lenses cover focal lengths below 20mm in full frame. They are used in architecture, landscape and astro. Barrel distortion is the main flaw: it is corrected optically on the best models or digitally in post-processing via Lensfun profiles.

Fisheyes (focal lengths from 8mm to 15mm) produce intentional circular or diagonal distortion, with an angle of view that can reach 180°. They remain niche tools. Tilt-shift lenses allow control of the plane of focus (tilt) and perspective (shift).

They are indispensable in architectural photography to correct converging lines without digital cropping. These lenses are generally manual or semi-automatic, without AF, and their price often exceeds 2000 € for optically controlled versions.

They do not yet appear in large numbers in our database, but Lensfun profiles cover the main Laowa, Canon TS-E and Nikon PC-E references.

Key criteria

The 7 criteria that really affect the image

These seven criteria are those our scoring directly weights. Each has a measurable impact on the final result. Here is how to read, interpret and arbitrate them.

  1. 01

    Focal length and angle of view

    Spec

    Focal length is expressed in millimetres and corresponds to the distance between the optical centre and the sensor plane for a subject at infinity.

    • On an APS-C sensor (1.5x factor Nikon/Sony, 1.6x Canon), a 35mm focal length equates to 52-56mm in full frame.
    • On Micro 4/3 (2x factor), a 25mm equates to 50mm full frame.
    Impact

    Focal length determines angle of view and perspective compression. An 85mm compresses planes and isolates the subject. A 24mm includes the environment and accentuates depth. These effects are physical, not correctable in post-processing.

    Verdict

    Always calculate the full-frame equivalent before buying. A 50mm f/1.8 on APS-C Fujifilm gives a 75mm full-frame angle of view, not 50mm. The use case changes radically.

  2. 02

    Maximum aperture

    Spec

    Aperture is expressed in f-stop (f/1.2, f/1.4, f/1.8, f/2.8). Each stop represents a factor of 2 in transmitted light. An f/1.4 transmits twice as much light as an f/2. The number of diaphragm blades influences bokeh shape: 9 rounded blades produce a more regular circle of confusion than a 5-blade diaphragm.

    Impact

    A larger aperture allows a higher shutter speed at the same ISO, or a lower ISO at the same speed. It also reduces depth of field. On an 85mm f/1.2 in full frame, depth of field at 3 metres is approximately 4 cm.

    Verdict

    Beware of variable-aperture zooms: a 100-400mm f/4.5-5.6 loses 1.3 stops between 100mm and 400mm. In wildlife at 400mm, you work at f/5.6, not f/4.5.

  3. 03

    Sharpness and optical performance (DXO)

    Spec

    DXOMark measures sharpness in P-Mpix (perceptible megapixels) on a reference sensor. A lens reaching 38 P-Mpix on a 24 MP sensor fully exploits the sensor resolution. Below 20 P-Mpix, the lens becomes the limiting factor, not the sensor.

    Impact

    Sharpness varies with aperture. Most lenses are less sharp at full aperture than at f/5.6-f/8. An f/1.4 prime used at f/1.4 can be inferior in sharpness to an f/2.8 zoom used at f/2.8. The DXO measurement is taken at the optimal aperture, not at full aperture.

    Verdict

    Consult the sharpness curve by aperture, not only the global score. A lens at 9.0/10 can be disappointing at f/1.4 and excellent at f/4.

  4. 04

    OIS and IBIS sync

    Spec

    OIS (Optical Image Stabilization) is integrated in the lens. IBIS (In-Body Image Stabilization) is integrated in the body. OIS+IBIS synchronisation allows combined compensation that can reach 7 to 8 stops on recent Sony, Nikon Z and OM System systems, versus 3 to 5 stops with OIS alone.

    Impact

    In practice, 5 stops of compensation allow shooting at 1/8s with a 200mm where the reciprocal focal length rule requires 1/200s. This is decisive in low natural light. In video, electronic stabilisation (additional crop of 10 to 15 %) is sometimes added to OIS.

    Verdict

    Check OIS+IBIS compatibility with your specific body. A third-party lens may not synchronise its OIS with the body IBIS, reducing overall efficiency to that of OIS alone.

  5. 05

    Build and weather sealing

    Spec

    Weather sealing refers to resistance to water spray and dust. It is ensured by rubber gaskets at junction points: zoom ring, focus ring, mount, buttons. Pro lenses announce between 11 and 18 sealing points.

    Absence of weather sealing is not stated explicitly: it is the manufacturer's silence that signals the risk.

    Impact

    Outdoors, in Brittany or in the mountains, weather sealing is not a luxury. A non-sealed lens exposed to light rain for 30 minutes can develop internal condensation or deposits on internal elements. Repair often exceeds 300 €.

    Verdict

    Check the technical sheet, not marketing copy. "Weather resistant" and "IP54 tropicalised" are not equivalent. Only the detail of the gaskets counts.

  6. 06

    Autofocus: motor and silence

    Spec

    AF motors fall into four types: screw-drive (noisy, slow), ring ultrasonic (fast, silent, e.g. Canon USM / Nikon SWM), linear piezoelectric (very fast, silent, e.g. Tamron XD Linear, Fujifilm LM) and stepping motor (STM, silent but less fast). AF acquisition speed is measured in milliseconds of focus on a subject at 3 metres.

    Impact

    In video, AF motor noise is picked up by the built-in microphone if the lens is not silent. A screw-drive motor on an adapted vintage lens produces audible noise at 40-50 dB at 1 metre. In sport, a slow AF (>200ms) misses action peaks at 10 frames per second.

    Verdict

    Focus breathing is the number-one video deal-breaker. A lens whose effective focal length varies by more than 2° between close focus and infinity produces a visible zoom artefact in editing. Check this parameter before any video purchase.

  7. 07

    Size and weight

    Spec
    • Lens weight varies from 130 g (Panasonic Lumix G 42.5mm f/1.7) to 3090 g (Nikon NIKKOR Z 600mm f/4 TC VR S).
    • Filter diameter varies from 46 mm to 105 mm.

    These two parameters determine compatibility with your bag, tripod and physical endurance on a day in the field.

    Impact

    A 1500 g lens carried for 8 hours represents a real physical constraint. On travel, the total system weight (body + lenses) often exceeds the 7 kg cabin baggage limit if you choose heavy pro optics.

    Verdict

    Weigh your complete system before buying. A Sigma 70-200mm f/2.8 DG DN OS Sports weighs 1345 g versus 1045 g for the Sony FE 70-200mm f/2.8 GM OSS II. On a day of sport, 300 g difference is felt.

By mount

Choosing according to your mount

The mount determines the entire ecosystem: native lenses, adapter compatibility, availability of third-party AF profiles. Changing mount means reselling the entire lens collection. This is the most structuring decision before any lens purchase. Here is the state of the catalogue for the five mounts covered by our database.

SONY-E

Sony E (FE)

The Sony E mount (FE bayonet for full frame) is the oldest of the modern full-frame mirrorless mounts, launched in 2013. It benefits from the widest native catalogue, with Sony G Master, G, Zeiss, Sigma DN and Tamron lenses.

  • The Sigma 105mm f/2.8 DG DN Macro Art reaches 9.7/10 in optical score, the highest score in the Sony E catalogue.
  • The Sony FE 85mm f/1.8 (9.4/10) represents the best value for money in portrait on this mount.
  • The Sony FE 70-200mm f/2.8 GM OSS II (9.2/10, 2899 €) is the pro zoom reference.

The E mount accepts A-mount lenses via the LA-EA5 adapter, with phase-detect AF maintained. Sigma and Tamron DN lenses are natively compatible without adapter and benefit from full AF.

Compare these lenses
Sigma 105mm F2 8 DG DN Macro ART 020Sony FE 85mm F 1 8Sony FE 70 200mm F 2 8 GM OSS IISony FE 600mm F 4 GM OSSView comparison
CANON-RF

Canon RF (and EF via adapter)

The Canon RF mount, launched in 2018, is distinguished by an internal diameter of 54 mm and a flange focal distance of 20 mm, the shortest on the full-frame market.

These characteristics allow unprecedented optical formulas, such as the Canon RF 85mm f/1.2L USM (9.3/10, 3299 €) or the Canon RF 100-300mm f/2.8 L IS USM (9.5/10, 9999 €), the first f/2.8 zoom to cover this focal range. The EF-EOS R adapter allows use of the entire EF range with full phase-detect AF.

  • The Canon RF 135mm f/1.8L IS USM (9.1/10) is the long-focal-length portrait reference of the mount.
  • The DS (Defocus Smoothing) version of the RF 85mm f/1.2 (9.1/10, 3699 €) adds an optical filter to soften bokeh, at the cost of slightly reduced transmission.
Compare these lenses
Canon RF 100 300mm F 2 8L IS USMCanon RF 85mm F1 2L USMCanon RF 135mm F1 8L IS USMCanon RF 85mm F 1 2L USM DSView comparison
NIKON-Z

Nikon Z (and F via FTZ)

The Nikon Z mount has an internal diameter of 55 mm and a flange focal distance of 16 mm. These dimensions allow very large-aperture lenses such as the Nikon Nikkor Z 50mm f/1.2 S (9.2/10, 2599 €) or the Nikon Nikkor Z 85mm f/1.2 S (8.8/10, 3099 €).

The Nikon NIKKOR Z 600mm f/4 TC VR S (9.7/10, 17499 €) is the lens with the highest optical score in our entire catalogue. It integrates an internal 1.4x teleconverter, bringing the focal length to 840mm f/5.6 without AF loss. The FTZ II adapter maintains phase-detect AF on AF-S and AF-P F-mount lenses.

AF-D screw-drive lenses do not benefit from AF via FTZ. The Nikon NIKKOR Z 70-200mm f/2.8 VR S II (9.2/10, 3099 €) is the updated version of the standard pro zoom.

Compare these lenses
Nikon Nikkor Z 600mm F 4 TC VR SNikon Nikkor Z 400mm F 2 8 TC VR SNikon Nikkor Z 50mm F 1 2 SNikon Nikkor Z 50mm F 1 8 SView comparison
FUJI-X

Fujifilm X (APS-C)

The Fujifilm X mount is a native APS-C mount. The crop factor is 1.5x. The XF catalogue covers focal lengths from 8mm to 200mm natively.

  • The Fujifilm XF 18mm f/1.4 R LM WR (9.3/10, 999 €) is the best wide-angle optic in the X catalogue by optical score, with a 27mm full-frame equivalent.
  • The Fujifilm XF 56mm f/1.2 R WR (8.8/10, 999 €) equates to an 84mm full-frame equivalent, ideal for portrait.

The X mount does not natively accept full-frame lenses, but adapters allow use of EF, F or E-mount lenses manually or with limited AF via active third-party adapters. The GF catalogue (Medium Format, 43.8 x 32.9 mm sensor) is separate and not compatible with the X mount.

Compare these lenses
Fujifilm XF 18mm F 1 4 R LM WRFujifilm XF 56mm F 1 2 R WRView comparison
MFT

Micro 4/3 (OM / Lumix)

The Micro 4/3 mount is shared between OM System (ex-Olympus) and Panasonic Lumix. The crop factor is 2x. A 45mm f/1.2 equates to a 90mm f/2.4 full-frame in angle of view and depth of field.

  • The OM System M.Zuiko Digital ED 45mm f/1.2 Pro (9.6/10) is the best portrait optic in the MFT catalogue.
  • The Panasonic Leica DG Elmarit 200mm f/2.8 Power O.I.S. (8.8/10, 2999 €) equates to a 400mm f/5.6 full-frame in angle of view, but with depth of field corresponding to f/5.6.
  • The Panasonic Lumix G 42.5mm f/1.7 (8.6/10) is the lightest compact portrait lens in the catalogue at 130 g.

OM/Lumix cross-compatibility is total for lenses, but OIS+IBIS stabilisation is optimised on native combinations (OM body + OM lens, Lumix body + Lumix lens).

Compare these lenses
OM System Olympus M Zuiko Digital ED 45mm F 1 2 PROPanasonic Leica DG Vario Elmar 200mm F 2 8Panasonic Lumix G 42 5MM F 1 7View comparison
Third-party vs OEM

Third-party lenses: Sigma, Tamron, Samyang/Viltrox vs brand

The third-party versus brand question comes up systematically. It deserves a structured answer, not a generality. Sigma, Tamron and Samyang/Viltrox occupy different positions in the market, with distinct strengths and limits.

Sigma offers two main lines: the Art series (optics priority, high weight) and the Sports series (robustness and fast AF). The Sigma 105mm f/2.8 DG DN Macro Art reaches 9.7/10 in optical score, equal to the Nikon Z 600mm f/4. The Sigma 70-200mm f/2.8 DG DN OS Sports (8.7/10) is offered at 1599 € versus 2899 € for the Sony FE 70-200mm f/2.8 GM OSS II (9.2/10). The price difference is 1300 € for 0.5 points of optical score. Resale of Sigma Art lenses is acceptable on the used market, but lower than brand lenses.

Tamron positions itself on value for money with compact and light zooms. The Tamron SP AF 90mm f/2.8 Di Macro 1:1 (9.4/10) remains an accessible macro reference. Recent Tamron zooms for Sony E (17-28mm, 28-75mm, 70-180mm) have gained AF quality with firmware updates. AF reliability in difficult conditions (tracking fast subjects) remains slightly below Sony G Master on recent bodies.

Resale is the weak point of both brands: a third-party lens loses on average 15 to 20 % more than an equivalent brand lens on the French used market. On a 1500 € purchase, the difference in residual value at 3 years can reach 200 to 300 €.

Sigma

Pros
  • The Sigma 105mm f/2.8 DG DN Macro Art reaches 9.7/10 in optical score, the highest score in the catalogue across all brands.
  • The Art line offers f/1.2 apertures (50mm, 35mm) at prices 30 to 50 % lower than equivalent brand lenses.
  • Firmware updates via USB Dock allow adjustment of AF parameters and correction of bugs without returning to service.
Cons
  • Art lenses are heavy: the Sigma 105mm f/1.4 DG HSM Art weighs 1115 g, i.e. 300 g more than most equivalent brand lenses.
  • OIS+IBIS synchronisation is not guaranteed on all bodies, particularly recent Nikon Z and Canon R with the latest firmware versions.
  • Resale value is 15 to 20 % lower than brand lenses at equivalent purchase price.

Tamron

Pros
  • The Tamron SP AF 90mm f/2.8 Di Macro 1:1 (9.4/10) is the most accessible macro reference in the catalogue in terms of score/price ratio.
  • Tamron zooms for Sony E are among the most compact and lightest in their category, with weight often 20 % lower than Sony G equivalents.
Cons
  • AF tracking of fast subjects remains below Sony G Master lenses on A9 III and A1 bodies in high-speed burst mode.
  • Weather sealing is announced but the number of sealing points is not communicated, making comparison with pro lenses impossible.
Entry-level alternatives

Samyang and Viltrox occupy the entry-level segment with large-aperture primes (35mm f/1.8, 85mm f/1.8, 50mm f/1.8) at prices below 400 €. Optical quality is acceptable for everyday use, but the DXO score remains below 8.0/10 on most references.

AF has progressed significantly on recent versions (Viltrox 85mm f/1.8 AF, Samyang AF 45mm f/1.8), but tracking reliability in difficult conditions remains below native lenses. These lenses are relevant for starting on a mount or testing a focal length before investing in a brand version.

By use case

Comparison by use case

Use case determines the priority criteria. A lens excellent in portrait can be mediocre in video if its focus breathing is high. Here are the recommendations by practice, taken from the short-lists calculated by our multi-criteria scoring.

Portrait

Portrait prioritises three parameters: maximum aperture (to isolate the subject), focal length (85mm to 135mm in full frame for flattering compression) and bokeh rendering (number of blades, shape of circle of confusion).

The Canon RF 85mm f/1.2L USM (9.3/10, 3299 €) is the absolute reference in the catalogue for full-frame portrait. Its f/1.2 aperture with 9 rounded blades produces a regular circular bokeh.

  • The Canon RF 85mm f/1.2 L USM DS (9.1/10, 3699 €) adds a Defocus Smoothing filter for an even softer rendering outside the plane of focus.
  • The Nikon Nikkor Z 50mm f/1.8 S (9.2/10) is the versatile portrait choice on Nikon Z, with a 50mm full-frame equivalent focal length and contained weight.
  • The Nikon Nikkor Z 85mm f/1.2 S (8.8/10, 3099 €) completes the Nikon Z catalogue in long-focal-length portrait.
Compare these lenses
Canon RF 85mm F1 2L USMCanon RF 85mm F 1 2L USM DSNikon Nikkor Z 50mm F 1 8 SNikon Nikkor Z 85mm F 1 2 SView comparison

Landscape

Landscape values wide angle, edge sharpness (often sacrificed on zooms at full aperture) and weather resistance.

  • The Fujifilm XF 18mm f/1.4 R LM WR (9.3/10, 999 €) is the best wide-angle optic in the catalogue by optical score under 1000 €.
  • On APS-C Fujifilm, it equates to a 27mm full-frame equivalent.
  • The Panasonic Lumix S 14-28mm f/4-5.6 Macro (9.2/10, 999 €) covers a 14-28mm full-frame equivalent angle of view with an integrated macro function, for the same budget.
  • The Fujifilm GF 30mm f/3.5 R WR (9.1/10, 1799 €) is the wide-angle reference of the GFX system (medium format), with a 24mm full-frame equivalent and edge sharpness measured among the best in the catalogue.
  • The Sigma 35mm f/1.2 DG DN Art (8.6/10) is relevant for landscape in low light or astro.
Compare these lenses
Fujifilm XF 18mm F 1 4 R LM WRPanasonic Lumix S 14 28mm F 4 5 6 MacroFujifilm GF 30mm F 3 5 R WRSigma 35mm F1 2 DG DN ART 019View comparison

Sport and wildlife

  • Sport requires fast AF, an aperture allowing high shutter speeds (1/1000s minimum to freeze a running athlete) and sufficient reach according to the discipline.
  • The Nikon NIKKOR Z 70-200mm f/2.8 VR S II (9.2/10, 3099 €) is the sport zoom reference on Nikon Z, with 5.5 stops VR stabilisation and a silent linear AF.
  • The Sigma 70-200mm f/2.8 DG DN OS Sports (8.7/10, 1599 €) offers superior value for money for regular sport use without high-level requirements.
  • The Canon EF 300mm f/2.8L IS II USM with 1.4x extender (9.7/10) remains an absolute reference in high-level sport, usable on RF bodies via EF-EOS R adapter.
  • The Canon RF 100-300mm f/2.8 L IS USM (9.5/10, 9999 €) is the most versatile sport zoom in the RF catalogue, with an unprecedented focal range at constant f/2.8 aperture.
Compare these lenses
Nikon Nikkor Z 70 200mm F 2 8 VR S IISigma 70 200mm F 2 8 DG DN OS SportsCanon EF 300mm F 2 8L IS II USM EF 1 4X Extender IIICanon RF 100 300mm F 2 8L IS USMView comparison

Travel and versatile

Travel imposes a constraint of weight and versatility. The ideal lens covers several uses with minimal bulk.

  • The Panasonic Lumix G 42.5mm f/1.7 (8.6/10) weighs 130 g and equates to an 85mm full-frame on Micro 4/3: it is the lightest travel portrait lens in the catalogue.
  • The OM System M.Zuiko Digital ED 45mm f/1.2 Pro (9.6/10) offers exceptional optical score in a compact format, with full weather sealing for difficult conditions.
  • The Nikon AF-S Nikkor 58mm f/1.4G (8.4/10) is a bright standard focal length usable via FTZ adapter on Nikon Z bodies.
  • The Canon EF 100-400mm f/4.5-5.6L IS II USM with 1.4x extender (8.4/10) covers a focal range of 100 to 560mm via EF-EOS R adapter, for wildlife-oriented travel.
Compare these lenses
Panasonic Lumix G 42 5MM F 1 7OM System Olympus M Zuiko Digital ED 45mm F 1 2 PRONikon AF S Nikkor 58mm F 1 4GCanon EF 100 400mm F 4 5 5 6L IS II USM 1 4X ExtenderView comparison

Macro and close-up

Macro in the strict sense implies a reproduction ratio of 1:1 minimum. Minimum working distance determines practicality in the field.

  • The Tamron SP AF 90mm f/2.8 Di Macro 1:1 (9.4/10) offers a working distance of 28 cm and a real 1:1 ratio, with optical score among the best in the category.
  • The Sony FE 90mm f/2.8 Macro G OSS (9.0/10) adds OIS stabilisation useful for handheld shooting on Sony E.
  • The Panasonic Lumix S 14-28mm f/4-5.6 Macro (9.2/10, 999 €) offers a macro function at short distance on Lumix S, with a reproduction ratio of 0.5:1 at 28mm.
  • The Canon EF 300mm f/2.8L IS II USM with 1.4x extender (9.7/10) allows macro at safe distance on insects or reptiles, with a reproduction ratio of 0.18:1 at minimum distance, usable in combination with an extension tube.
Compare these lenses
Tamron SP AF 90mm F 2 8 DI Macro 1 1Sony FE 90mm F 2 8 Macro G OSSPanasonic Lumix S 14 28mm F 4 5 6 MacroCanon EF 300mm F 2 8L IS II USM EF 1 4X Extender IIIView comparison

Video

Video imposes specific criteria absent from photo rankings: silent AF motor, absence of focus breathing, fluid stabilisation and linear focus rings.

  • The Sigma 70-200mm f/2.8 DG DN OS Sports (8.7/10, 1599 €) is the best-placed video zoom in the catalogue for value for money, with measured focus breathing rated low on Sony E.
  • The Nikon NIKKOR Z 70-200mm f/2.8 VR S II (9.2/10, 3099 €) benefits from a silent linear AF motor and VR stabilisation compatible with IBIS.
  • The Nikon NIKKOR Z 24-70mm f/2.8 S II (9.0/10, 2699 €) is the standard video zoom reference on Nikon Z, with a long-throw focus ring.
  • The Canon RF 100-300mm f/2.8 L IS USM (9.5/10, 9999 €) is the tele video reference, used in broadcast production for its focal range and silent AF.
Compare these lenses
Sigma 70 200mm F 2 8 DG DN OS SportsNikon Nikkor Z 70 200mm F 2 8 VR S IINikon Nikkor Z 24 70mm F 2 8 S IICanon RF 100 300mm F 2 8L IS USMView comparison
By budget

Comparison by budget

Budget is often the first filter applied. Here are the best options by price bracket, ranked by optical score in each range.

Under 500 €

Entry level: compromises to know

The current Camera Duel catalogue does not list any lens under 500 € with an optical score above 8.0/10 on recent mirrorless mounts. This bracket corresponds mainly to manufacturer kit lenses (18-55mm f/3.5-5.6, 50mm f/1.8 EF/F previous generation) and first-generation third-party Samyang/Viltrox lenses.

These lenses are functional for learning, but their edge sharpness and AF in difficult conditions are the first limiting factors. If your budget is below 500 €, buying used from the 500-1000 € bracket is often more relevant than a new lens in this category.

The French used market (MPB, Phox, authorised dealers) regularly offers lenses with optical scores above 8.5/10 in this price range.

Compare these lenses
Panasonic Lumix G 42 5MM F 1 7Nikon Nikkor Z 50mm F 1 8 SView comparison
500 to 1000 €

Best value for money in the catalogue

The 500 to 1000 € bracket concentrates the best values in the catalogue. The Voigtländer APO-Lanthar 35mm f/2 ASPH. M-mount (9.4/10, 999 €) is the best optically rated manual lens in this bracket, with chromatic aberration correction measured as virtually zero by OpticalLimits.

  • The Fujifilm XF 18mm f/1.4 R LM WR (9.3/10, 999 €) is the best AF wide-angle optic in the bracket, with full weather sealing and silent LM motor.
  • The Panasonic Lumix S 14-28mm f/4-5.6 Macro (9.2/10, 999 €) is the best-rated wide-angle zoom under 1000 € across all mounts.
  • The Fujifilm XF 56mm f/1.2 R WR (8.8/10, 999 €) completes the Fujifilm X catalogue in bright portrait.
Compare these lenses
Voigtlander 35mm F 2 APO Lanthar Asph MFujifilm XF 18mm F 1 4 R LM WRPanasonic Lumix S 14 28mm F 4 5 6 MacroFujifilm XF 56mm F 1 2 R WRView comparison
1000 to 2500 €

Accessible pro optics: high optical score, controlled weight

  • The 1000 to 2500 € bracket groups mid-range pro lenses, with optical scores generally above 8.7/10.
  • The Fujifilm GF 30mm f/3.5 R WR (9.1/10, 1799 €) is the wide-angle reference of the GFX system, with edge sharpness measured among the best in the catalogue.
  • The Zeiss E 85mm f/1.8 (9.0/10, 1008 €) is the best optically rated portrait prime under 1100 € on Sony E.
  • The Sigma 50mm f/1.2 DG DN Art (8.9/10, 1599 €) offers an f/1.2 aperture on Sony E and L-mount at a price 1000 € lower than brand equivalents.
  • The Sigma 70-200mm f/2.8 DG DN OS Sports (8.7/10, 1599 €) is the most accessible sport zoom in the catalogue with integrated OS stabilisation.
Compare these lenses
Fujifilm GF 30mm F 3 5 R WRZeiss E 85mm F1 8Sigma 50mm F 1 2 DG DN ARTSigma 70 200mm F 2 8 DG DN OS SportsView comparison
Over 2500 €

Reference optics: maximum scores, long-term investment

Beyond 2500 €, lenses reach the highest optical scores in the catalogue and integrate the most advanced technologies (internal TC, multi-group linear AF, reinforced weather sealing).

  • The Nikon NIKKOR Z 600mm f/4 TC VR S (9.7/10, 17499 €) is the lens with the highest optical score in the catalogue, with an internal 1.4x teleconverter and 6 stops VR stabilisation.
  • The Fujifilm GF 500mm f/5.6 R LM OIS WR (9.5/10, 3999 €) is the most accessible entry in this bracket, with an excellent weight/reach ratio on the GFX system.
  • The Canon RF 100-300mm f/2.8 L IS USM (9.5/10, 9999 €) is the most versatile pro zoom in the RF catalogue.
  • The Nikon NIKKOR Z 400mm f/2.8 TC VR S (9.4/10, 13999 €) completes the Nikon Z catalogue in super-tele with internal TC.
Compare these lenses
Nikon Nikkor Z 600mm F 4 TC VR SFujifilm GF 500mm F 5 6 R LM OIS WRCanon RF 100 300mm F 2 8L IS USMNikon Nikkor Z 400mm F 2 8 TC VR SView comparison
Watch out

Pitfalls to avoid when buying

These five errors recur regularly in purchase feedback. Each has a measurable impact on satisfaction in use or on resale value.

  • 1

    Unanticipated variable aperture: a 100-400mm f/4.5-5.6 zoom loses 1.3 stops between 100mm and 400mm, requiring twice the ISO at 400mm than at 100mm for the same shutter speed.

  • 2

    Ignored focus breathing in video: a lens whose effective focal length varies by more than 2° between focus at 0.3 m and infinity produces a visible zoom artefact in editing, not correctable in post-production without cropping.

  • 3

    Mount incompatible with AF adapter: Nikon AF-D screw-drive lenses do not benefit from AF via the FTZ II adapter on Nikon Z bodies, unlike AF-S and AF-P.

  • 4

    Underestimated weight: a 1500 g lens carried for a day in the field represents a real physical constraint; the Sigma 105mm f/1.4 DG HSM Art weighs 1115 g without the body.

  • 5

    Used purchase without checking edge sharpness: a lens with optical decentring (a lens group slightly misaligned) can show correct centre sharpness but a 30 to 40 % drop at the edge of the frame, detectable only on a test chart.

FAQ

Frequently asked questions

Which lens should I buy first?

The answer depends on your mount and main use case.

  • On Sony E, the Sony FE 85mm f/1.8 (9.4/10) is the first prime to buy after the kit: it covers portrait, street and low light at a reasonable price.
  • On Nikon Z, the Nikon Nikkor Z 50mm f/1.8 S (9.2/10) is the standard reference focal length.
  • On Fujifilm X, the Fujifilm XF 56mm f/1.2 R WR (8.8/10, 999 €) is the first bright prime to consider.

The selection criterion is simple: choose the focal length you use most often with your kit zoom, then buy the corresponding prime. You will immediately gain brightness and sharpness.

Should I start with a prime or a zoom?

A zoom allows you to explore several focal lengths before deciding which matches your vision. A prime imposes a framing discipline that accelerates progress. Both approaches are valid. If you are a beginner and do not yet know which focal length suits you, start with the kit zoom supplied with your body.

Analyse your EXIF metadata after 3 months of practice: the focal length you use most often is the one for which you should buy a prime. If 70 % of your photos are taken at 35mm, buy a 35mm prime. If they are evenly distributed, a pro f/2.8 zoom is more suitable.

Sigma or Tamron versus brand, is it worth it?

It depends on use and budget. The Sigma 70-200mm f/2.8 DG DN OS Sports (8.7/10, 1599 €) costs 1300 € less than the Sony FE 70-200mm f/2.8 GM OSS II (9.2/10, 2899 €) for a 0.5 point optical score difference. For amateur or semi-pro use, the optical difference is imperceptible in practice.

For professional use with requirements for AF reliability in difficult conditions and resale value, the brand lens remains preferable. A third-party lens loses on average 15 to 20 % more in resale than a brand lens after 3 years of use.

A 50mm f/1.8 on APS-C, what is the full-frame equivalent?
  • On an APS-C Sony or Nikon sensor (factor 1.5x), a 50mm equates to 75mm in full-frame angle of view.
  • On APS-C Canon (factor 1.6x), it equates to 80mm.
  • On Fujifilm X (factor 1.5x), same: 75mm.
  • Effective aperture in terms of depth of field is also affected: a 50mm f/1.8 on APS-C produces depth of field equivalent to a 75mm f/2.7 full frame.

Brightness transmitted to the sensor remains identical (same f-stop), but subject isolation is less pronounced than a true 75mm f/1.8 full frame.

Do OIS and IBIS stabilisation add up?

Yes, under conditions. OIS+IBIS synchronisation is effective on native combinations: Sony G Master lens on Sony Alpha body, Nikon Z VR S lens on Nikon Z body, OM System Pro lens on OM System body. Combined compensation can reach 7 to 8 stops on the most recent systems.

With a third-party lens (Sigma, Tamron), synchronisation is not always guaranteed: IBIS works, OIS works, but they may work independently rather than in coordination, reducing overall efficiency. Check specific body/lens compatibility in the firmware notes.

Which aperture to choose for portrait?

The optimal aperture for portrait depends on focal length and shooting distance. On an 85mm full frame at 3 metres, f/1.4 gives a depth of field of approximately 6 cm: the eyes are sharp, the ears begin to leave the plane of focus.

At f/2, depth of field passes to 10 cm. At f/2.8, it reaches 15 cm.

For a full-length portrait, f/4 to f/5.6 is often more suitable to keep the entire body in the plane of focus. Maximum aperture is not always the best aperture. It serves to isolate the subject, not to be used systematically.

How many focal lengths do you really need to own?

The honest answer is two or three to cover the majority of situations. A wide-angle (24-35mm), a standard focal length (50mm) and a portrait/telephoto (85-135mm) cover 90 % of common uses.

Accumulating lenses is often motivated by the desire not to miss a situation, but in practice, photographers who work with a single prime focal length for an extended period progress faster than those who constantly change optics.

If you hesitate between two focal lengths, choose the shorter one: it is more versatile and you can crop in post-processing, which you cannot do the other way round.

Used lens: what to watch out for?

Four control points are indispensable. First, test edge sharpness on a chart at full aperture: optical decentring is detected by an asymmetric drop in sharpness between left and right edges.

Second, check the zoom or focus ring: excessive mechanical play indicates wear of the cams. Third, inspect the optical elements in grazing light: internal dust is normal and has no impact on the image, but fungus (organic spots) degrades contrast.

Fourth, check the number of AF actuations via EXIF metadata if the seller can provide original photos. An AF lens with more than 100 000 actuations presents an increased risk of motor failure.

Why is my zoom less sharp than my prime?

A zoom must maintain optical correction over an entire focal range. This implies more optical elements (sometimes 18 to 22 elements versus 8 to 12 for a prime), different correction compromises according to focal length and a more complex optical formula.

The result is a less perfect correction at each individual focal length than a prime optimised for a single focal length. At f/2.8, a pro zoom such as the Nikon Z 24-70mm f/2.8 S II (9.0/10) is excellent, but a 50mm f/1.8 S (9.2/10) surpasses it in sharpness at the same aperture.

The gap reduces at f/5.6-f/8, where both types of lenses converge towards their optimal performance.

Full-frame lens on APS-C, does it work?

Yes, with advantages and disadvantages. A full-frame lens mounted on an APS-C body uses only the centre of the optical projection, where correction is generally best. Vignetting and edge aberrations of the full-frame lens disappear.

The effective focal length is multiplied by the crop factor (1.5x or 1.6x). An 85mm f/1.4 full frame becomes a 127mm f/1.4 in angle of view on APS-C Sony: excellent for tight portrait. The disadvantage is the weight and bulk of a full-frame lens on a more compact APS-C body.

The combination is mechanically compatible on Sony E, Fujifilm X (via adapter) and Nikon Z (via FTZ) mounts.

E-E-A-T

Our method and sources

Camera Duel scoring is based on four independent data sources, cross-referenced for each lens in the catalogue.

DXOMark provides instrumental measurements of sharpness (P-Mpix), light transmission (T-stop), vignetting (EV at full aperture) and chromatic aberrations. These measurements are performed on an optical bench with a calibrated reference sensor. They enable objective comparisons between lenses of different brands, independently of shooting conditions. The Camera Duel optical score integrates these four measurements with weighting: 40 % for sharpness, 25 % for transmission, 20 % for vignetting and 15 % for chromatic aberrations.

Lensfun is an open-source database of optical correction profiles, used by RAW development software Darktable, RawTherapee and digiKam. It provides distortion and vignetting coefficients measured on real images, complementing DXOMark measurements. These profiles verify consistency between instrumental measurements and field results.

OpticalLimits publishes detailed field tests including sharpness measurements by aperture and zone (centre, edge, corner), evaluations of distortion and vignetting, and qualitative observations on bokeh and flare. These data serve as qualitative control on scores calculated from DXOMark.

Manufacturer datasheets (Canon, Nikon, Sony, Fujifilm, OM System, Panasonic, Sigma, Tamron, Voigtländer) provide weight, dimensions, number of diaphragm blades, AF motor type, number of sealing points and minimum reproduction ratio. These data are verified against measurements published by independent testers in case of discrepancy.

The database is updated with each new reference available in DXOMark testing, generally within 4 to 8 weeks of commercial availability of the lens. Prices are checked monthly on major European authorised retailers. Value scores are recalculated with each price update.